Sixth Plate

THE GLOVED HAND. (For further information about James McClees, whose imprint is stamped on the left side of the mat, please read John Craig’s informative description on his web site. I think the best definition of the lady�??s sixth plate might be highly stylized (from an earlier period). Since Craig states that McClees didn�??t work solo until 1857, at first I found it difficult to believe that this strong representation was made that late, then I began to look at her clothing, especially the dress with the very voluminous cuffs. While her hair isn�??t radically puffed out on the sides and filled with another�??s hair or wool or cotton, to add body to the style, it does have a 50�??s appearance. Certainly her elegant attitude, obtained by having her gently touch the side of her chin with a hand partially covered with a black lace glove, suggests a master�??s artistic touch. The overhead narrow directional lighting was inspired. A technical expert could only accomplish the crisp white lace and wide ranging dark tones. The depth of her body against the blackness behind her is sumptuous! The realistic tinting is also impressive. My only question is, why didn�??t she wear a glove on her other hand? Broad patina is evident as are a few mold specks. The complete leather case contains a wonderfully embossed red velvet pad. Another dealer resealed the dag in 2003 and subsequently white haze has formed under the glass.